Let's talk about the conclusion first, I personally think that "Flying Life 2" is better than the first part. Han Han's ** is always more sloppy, whether it is to make characters or dramatic tension, he often withdraws after half of his efforts.
I don't know if I have experienced the situation that Zhang Chi can't stop the car and fly into the river, the whole creative style (if it can be regarded as a style) is like Zhang Chi looking for a brake point in the second part, and he stopped the car before he entered the painting.
In addition, it may be because he has been dealing with words for a long time, and when he makes movies, he feels very dependent on texts, and he has to play a lot of text stalks even when he shakes his baggage, and he can't see how much he thinks in terms of audio-visual.
Like the kind of first giving a big close-up to let the characters make expressions, and then then shaking a burden in a medium scene or panorama, it is also a very basic comedy shooting.
The last Bayin Brook Claria Race in the first part of "Flying Life" was complained by netizens that it was a car commercial, and the whole process was like a mechanical execution according to the words on the script, and those words were not storyboards.
Just explain the key nodes and results in the process. In the end, what the shot shows is that a car is running, a car overturns, a car has crossed the finish line, and a car has passed the finish line without braking, and the rhythm is quite sparse.
The second filming decisive battle is much more mature in terms of rhythm control, but I still want to complain, isn't this just a remake of Bayin Brook Claria?
co-authored the first part of the 1.7 billion box office, everyone raised funds to give you a draft, and after finishing the second part, it was polished and then taken out and sold again. The extinct "change the stretcher and sell him" of the Spring Festival Gala has exerted its residual heat here again.
By the way, Uncle Benshan's sketch is called "Selling Cars". What is a professional counterpart (leaning back). Big IPs like "Fast and Furious" don't dare to be so capricious, each one honestly changes new scenes, and keeps upgrading.
After complaining, I returned to the scene itself, and the setting of various obstruction nodes is indeed a lot more reasonable, so that the game has a more tense and gripping rhythm.
The ending is not open-ended, it is really inspirational, and it can be regarded as succumbing to a routine without new ideas, but it also proves once again that in mainstream commercial films, this routine is really effective.
However, this time the characters are still more sloppy. Zhang Fei, the child in the first part, used a sentence to find his parents and fooled him, and a character who made up the title of the film was lost so easily.
However, Zhang Fei's biggest role in the first part may be to compose the title, the dramatic role is really not much, basically it is filmed wherever it is, I feel that Han Han's drama can be filmed without a complete script, they are all Shanghainese, and they also learn from Wong Kar-wai when filming.
Liu Xiande, played by Sun Yizhou, is basically a strong man, and the plot needs a navigator, so he was caught immediately. The background of the characters and the motivations for their actions are quite child's play.
Occasionally, I explain it, but it's just to shake off the burden, just like the scene of embroidering the plaque, which has a very limited effect on showing Liu Xiande's background and character.
As for why he was so compatible with Li Xiaohai played by Fan Chengcheng, there was only a series of montages of car practice as the basis for reality.
Practice is necessary, but if you can find a mental fit, like a lubricant, you can make that montage less dry.
The character of Li Xiaohai is also a little strange, after watching a race, his first favorite is not motorsports or drivers, but the track, he has to run once in Bayingbrook, and other races are not watchable.
In addition, the relationship between him and his father is also very unpleasant, and the hiding of his identity in the early stage is for the later dramatic effect, which is nothing.
But why does a capitalist father support his son to play racing so much, the reason given in the film is that he hopes that he will get points and save the company's image.
I don't know much about business and racing, and I don't know if it's really useful, but I think it's a bit roundabout to use millions to save the company. Is it really in line with the logic of a capitalist?
If you can make some fuss about the father-son relationship and make up for some emotional reasons, wouldn't the motivation of the characters be smoother? Of course, there is a question mark over whether he can shoot emotional scenes well.
The protagonist Zhang Chi's obsession with Bayinbrook is valid, after all, the corner after crossing the finish line left a shadow on him, but when he finds that key part in the middle of the film, he is slightly off.
According to his lines, he didn't care about the ranking at all, he just wanted to make sure if he was relying on his strength to finish the race at that time. That excited look seemed to indicate that this was his biggest heart disease.
If that's the case, then the character is complete here, because he's already sure he's okay. Running the race later, it didn't highlight the weight of the shadow of that corner in his heart.
He didn't want to finish the race because he didn't have the money to change the car, of course, he probably didn't want to show that he was afraid of the last corner, so he could also film the process of his cover-up.
For example, the money is still enough, but he deliberately didn't spend it on changing the car, just so that he didn't have to run the whole distance, and he still made all kinds of excuses for himself.
Now the character's b story is cut into paragraphs like sushi, and it is very incoherent. Han Han's movie, you really can't pick it carefully.
Let's talk about acting, the second part added newcomer Fan Chengcheng, and the role given to him took good care of him, it looks very good, the character design is relatively close to "Initial D", and the reference is also good, and the name is Xiaohai, which is very easy to substitute.
As for Shen Teng's comedy performance, he is indeed one of the best among the active actors in China, and his grasp of the rhythm is relatively accurate, and this time he has aggravated the tragic scene, as well as a hoarse crying scene.
This has to be compared with Stephen Chow, who is good at the intersection of joy and sorrow. If you have to divide the superior, I personally prefer Stephen Chow a little more.
Shen Teng has sorrows and joys in this **, but he has not yet reached the state of Stephen Chow's tragedy and comedy at the same time. For example, after he finished crying, Li Xiaohai came to him, and immediately had a laugh output, and as soon as the comedy appeared here, the tragedy was diluted.
And the star master in "The King of Comedy" does not have great emotional fluctuations, but when you see him treating his role seriously, you will feel both funny and sad.
However, Shen Teng's comedy performance is still quite important to Han Han, and the content of "Four Seas" has declined, and the box office has also declined.
If it weren't for Shen Teng in the first part of "Flying Life", I am afraid that the story would not have sold so well just by relying on the story that was written to the end.
As for the issue of the all-male lineup, it can only be said that this may be a better result at present, if you want to watch him shoot an emotional scene to save the wind and dust, I would rather watch this, and I hope he will not touch female themes for the sake of traffic in the future, one Chen Sicheng is enough.
Enjoy the New Year